Funk carioca, also called baile funk, Brazilian funk, or simply funk, is a type of music from Rio de Janeiro, Brazil. It takes ideas from hip hop, Miami bass, and freestyle music.

In Brazil, the word "baile funk" describes the dance parties or clubs where this music is played, not the music itself. The term "carioca" refers to people from Rio, but the music is now enjoyed by many people in other parts of Brazil. Across the country, this music is often called "funk," even though it sounds very different from the American style of funk music. It still shows influences from Afrobeat, a musical style with African roots.

Overview

Funk carioca developed from several music styles, including samba, Miami bass, Latin music, Caribbean music, traditional African religious music, candombe, hip-hop, and freestyle (a genre from Miami). These music styles, which are closely connected to the United States, became popular in Rio de Janeiro because of their proximity to Miami. Rio DJs often traveled to Miami to purchase new American records. The influence of the slave trade in colonial Brazil also played a role in shaping this music. African religions such as vodun and candomblé were brought to the Americas by enslaved Africans. These same musical rhythms appear in Afro-religious music across the African diaspora, and many Black Brazilians identify with these traditions. Funk carioca was created mainly by people in Brazil’s Black communities, blending many different influences into its unique sound.

Similar music styles can be found in Caribbean countries like Jamaica, Cuba, the Dominican Republic, Barbados, Haiti, and Puerto Rico. Bounce music, which began in New Orleans, Louisiana, also shares similar beats. New Orleans, once a French territory, was a major center for the Atlantic slave trade before it became part of the United States. These regions all show the influence of American hip-hop, African music, and Latin music.

In the 1970s, nightclubs in Rio de Janeiro played funk and soul music. One band formed during this time was Soul Grand Prix.

In the 1980s, during the post-disco era, Rio’s music scene split into two types of parties: baile charme and baile funk. Baile charme focused on modern R&B songs, often with slow, romantic ballads, which is why it was called "charme" (meaning charm or smoothness). Baile funk, on the other hand, featured fast-paced music like Miami bass and freestyle, designed for energetic dancing. This change marked an important shift in Rio’s music and party culture.

Funk carioca became popular in the 1980s in Rio’s favelas, which are the city’s mostly Afro-Brazilian slums. From the mid-1990s onward, the genre grew in popularity and became mainstream in Brazil by the mid-2010s. Funk carioca songs often address topics like poverty, human dignity, racial pride, sex, violence, and social injustice. Social analysts believe this music reflects the serious challenges faced by poor and Black people in Rio.

According to DJ Marlboro, the main influence for funk carioca was the 1982 song "Planet Rock" by Afrika Bambaataa and Soulsonic Force.

In its early days, funk carioca used loops of electronic drum beats from Miami bass or freestyle records, as well as the 4–6 beat of afrobeat. Some artists used drum machines. A common rhythm came from a loop of DJ Battery Brain’s "808 volt," known as "Voltmix," though Hassan’s "Pump Up the Party" is also notable. Today, funk carioca uses rhythms called tamborzão instead of older drum machine loops.

Melodies in funk carioca are often sampled from other songs. Older songs used chopped-up freestyle samples or had no melody at all. Modern funk uses samples from various sources, such as horn and accordion sounds, and the horn intro from the "Rocky" movie theme. Funk carioca songs typically use a small set of rhythms and samples that many songs share. These songs can be instrumental or include rapping, singing, or a mix of both. The phrase "Bum-Cha-Cha, Bum Cha-Cha" or "Boom-Pop-Pop, Pop, Pop" is a representation of the beat found in most funk carioca songs.

Funk carioca is different from the funk that originated in the United States. In the 1970s, styles like bailes da pesada, black soul, shaft, and band funk began in Rio. Over time, DJs explored other rhythms from Black music, but the original name for these styles changed. Funk carioca first appeared and is played across the state of Rio de Janeiro, not just in the city, as some people believe. Funk carioca is especially popular among young people.

In the 1980s, anthropologist Herman Vianna was the first person to study funk carioca in his master’s thesis, which led to the book O Mundo Funk Carioca (translated as The Carioca Funk World in 1988). During this time, funk dances lost some popularity due to the rise of disco music, a pop version of soul and funk, especially after the 1977 film Saturday Night Fever featuring John Travolta and the Bee Gees. At the time, a teenager named Fernando Luís Mattos da Matta listened to the radio program Cidade Disco Club on Rio’s Radio City (102.9 FM). Later, he became known as DJ Marlboro, and the radio station became known as Rio’s "rock radio."

Subgenres

There are several subgenres that come from funk carioca.

Brega funk is a subgenre of funk carioca that began in Recife, Brazil, in the early 2010s. It was influenced by brega and arrocha music from the northeast region of Brazil. Unlike classic funk carioca, brega funk has a smoother sound. It uses rhythmic and bright piano sounds, synthesizers, guitars with special effects, and a type of drum called caixas. The music often includes short vocal clips and a deep, pulsing bass. Even though the music usually plays at 160 to 180 beats per minute, the half-time rhythm makes it feel slower. An example of this genre is the song "Parabéns" by Pabllo Vittar.

Funk melody is based on electronic music rhythms but has romantic lyrics. It is often performed by female artists. Popular singers in this style include Anitta, Perlla, Babi, and Copacabana Beat.

Funk ostentação is a subgenre of Rio de Janeiro funk that started in São Paulo in 2008. The songs in this style focus on showing off wealth, material things, and the desire to leave the favelas. It is closely linked to Brazil’s new middle class.

Proibidão is a type of funk carioca that deals with illegal activities, such as selling drugs and fighting with police. It also praises drug cartels, similar to gangsta rap.

Rasteirinha, also called Raggafunk, is a slower style of Rio de Janeiro funk. It plays around 96 beats per minute and uses drums like atabaques and tambourines, along with beatboxing. It also includes influences from reggaeton and axé. A well-known song in this genre is "Fuleragem" by MC WM.

Funk de BH, or Funk BH, is the funk scene from Minas Gerais, especially the city of Belo Horizonte. It has more meaningful lyrics than other styles, though it can also include traditional funk themes.

This style of funk carioca discusses city problems, patriotism, and encourages young people to follow their dreams and achieve their goals.

Rave funk mixes funk carioca with electronic music. It was created in 2016 by DJ GBR. Popular songs include "É Rave Que Fala Né" by Kevinho and "São Paulo," a 2024 song by Anitta and The Weeknd.

In 2018, a new style of funk carioca called 150 BPM was created by DJs Polyvox and Rennan da Penha. This style became popular in carnival parades in 2019. A popular song in this genre is "Ela É Do Tipo" by Kevin O Chris.

Funk mandelão, also known as Ritmo dos Fluxos, is a subgenre from São Paulo that started in the late 2010s. It was inspired by the Baile do Mandela, a popular party in Praia Grande. The name "mandelão" comes from Nelson Mandela, the South African leader. This style has simple, repeated lyrics and uses minimal, raw music with strong beats and deep bass. Instruments like pianos, synthesizers, and computers are used. Funk mandelão also has its own dance moves, with fast and coordinated arm and leg movements. A famous song in this genre is "Automotivo Bibi Fogosa" by Bibi Babydoll, which became popular in Ukraine, Belarus, and Kazakhstan in 2023.

Funk automotivo, also called Brazilian phonk outside Brazil, is a subgenre that mixes funk mandelão, electronic music, and bass music. It has aggressive sounds and talks about topics like drugs, sex, and showing off wealth. In 2023, this style became known as "Brazilian phonk," which combines elements of funk automotivo with a type of music called drift phonk. However, the term "Brazilian phonk" is not widely used in Brazil, and the music is more commonly called "funk automotivo" there. This style is not similar to phonk or drift phonk, but it is sometimes confused with them because of similar names, sounds, and bass.

Samba-rap is a mix of funk carioca and pagode music. It also refers to parties where both genres are played. This style began in the mid-1990s. In 1997, the group Claudinho & Buchecha released the song "Fuzuê," which used a cavaquinho, an instrument found in samba, choro, and pagode music. Later, the song "Ela sambou, eu dancei" by Grupo Raça, written by Arlindo Cruz, A. Marques, and Geraldão, included references to funk carioca. In 2014, Arlindo Cruz and Mr. Catra performed a version of the song with carioca funk elements. Artists like Mc Leozinho, MC Delano, and Ludmilla have also used the cavaquinho in their music. In 2020, Ludmilla released an EP called "Numanice" dedicated to pagode music.

Funk bruxaria is a subgenre that started in the South Zone of São Paulo in the 2020s. It has a loud, aggressive sound and uses high-pitched noises, synthesizers, and heavy distortion. It is influenced by electronic music and heavy metal. This style became popular at parties like the Baile da DZ7 in Paraisópolis and the Baile do Helipa in Heliópolis. Main artists in this genre include DJs K, Arana, and Blakes.

Global recognition

Until the year 2000, funk carioca was only popular in Brazil. In 2000, European media began to report on the music’s unique mix of sound, social themes, and strong sexual content, which sometimes included explicit material.

In 2001, for the first time, funk carioca songs were released on a label outside Brazil. One example was the album Favela Chic, released by BMG. It included three classic funk carioca songs, such as "Popozuda Rock n' Roll" by De Falla.

In 2003, the song Quem Que Caguetou (Follow Me Follow Me) by Black Alien & Speed, which was not widely known in Brazil, was used in a European car commercial. This helped increase the music’s popularity. Around the same time, Brazilian artists Tetine created a compilation called Slum Dunk Presents Funk Carioca, released by Mr Bongo Records in the UK. The album featured artists like Deize Tigrona, Taty Quebra Barraco, and Bonde do Tigrão. From 2002, Bruno Verner and Eliete Mejorado hosted a radio show called Slum Dunk on Resonance FM, where they played funk carioca and interviewed artists. In 2004 and 2006, Berlin journalist and DJ Daniel Haaksman released two important compilation CDs, Rio Baile Funk Favela Booty Beats and More Favela Booty Beats, through Essay Recordings. These helped launch the international career of Edu K, whose song was used in a German soft drink ad. Haaksman continued to release new funk carioca music through his label, Man Recordings.

In 2004, dance clubs in Eastern Europe, especially Romania and Bulgaria, helped make funk carioca more popular because of its strong sexual appeal and dance style, called Bonde das Popozudas. At this time, many funk carioca artists began performing outside Brazil. DJ Marlboro and Favela Chic Paris club were among the first to travel and produce music abroad. Before this, funk carioca was mainly played in Brazilian slums and the mainstream music market. In 2006, DJ Marlboro told a Brazilian magazine he was surprised by the sudden interest in the genre outside Brazil. He later performed in over 10 European countries.

In London, Tetine created the compilation Slum Dunk Presents Funk Carioca, released by Mr Bongo Records in 2004. Tetine also hosted a weekly radio show on Resonance FM, which focused entirely on funk carioca. The show helped Tetine organize film programs, interviews, and live events featuring Rio-based artists. Tetine also helped produce a documentary called Eu Sou Feia Mas Tô Na Moda by Denise Garcia, which was first shown in London in 2005. Tetine released two other albums with experimental funk carioca tracks: Bonde do Tetão (2004) and L.I.C.K My Favela (2005). Tetine also recorded a song called "I Go to the Doctor" with Deize Tigrona, which was included in L.I.C.K My Favela and later on another album.

In Italy, the label Irma Records released a compilation called Colors Music #4: Rio Funk in 2005. Other small labels, such as European label Arcade Mode and American labels Flamin’Hotz and Nossa, also released several compilations and EPs in unofficial formats.

The artist MIA brought international attention to funk carioca with her 2005 song Bucky Done Gun. MIA’s song also helped raise awareness of American DJ Diplo, who had worked on her 2004 mixtape Piracy Funds Terrorism, which included tracks inspired by funk carioca. Diplo later released a mixtape called Favela on Blastin in 2004 and a documentary called Favela on Blast in 2010, which explored the culture of funk carioca in Rio’s favelas.

Other independent documentaries about funk carioca were made in Europe, especially in Germany and Sweden. These films often focused on social issues in the favelas. One well-known example is Mr Catra the Faithful (2005), directed by Danish filmmaker Andreas Rosforth Johnsen, which was broadcast on European TV channels.

Sandra D’Angelo, an Italian artist based in London, was the first Italian singer-producer to bring funk carioca to Italy. She performed in London with MC Gringo at Notting Hill Arts Club in 2008 and later performed at the Edison Change the Music contest in 2008. She also performed in New York and produced music with Edu K and DJ Amazing Clay from Rio.

In 2008, the Berlin label Man Recordings released Gringão, the debut album by German MC Gringo, who was the only non-Brazilian artist to perform at baile funk events in Rio de Janeiro.

The English band Everything Everything used drum patterns in their Top 40 hit Cough Cough that were inspired by those in Pon de Floor, a song by Major Lazer, which is based on funk carioca.

Stylistic differences

Gqom is a type of electronic dance music that comes from Durban, South Africa. It is often confused with baile funk because both originated in poor areas, have strong bass sounds, and are linked to illegal activities. Even though they share these similarities, gqom and baile funk are different, especially in how they are made. In recent years, many musicians have started combining elements of baile funk with gqom in their music.

Criticism

In Brazil, some people criticize the lyrics of funk carioca music because they often include violent or sexually explicit content. Songs sometimes use disrespectful terms, such as "cachorras" (bitches) and "popozudas" (women with large buttocks). Many songs focus on sexual themes, and young girls, called "novinhas," are frequently mentioned. Some songs are performed by women.

The frequent mention of sex in these songs is seen as a problem. In favelas, where sanitation is poor and sex education is limited, this could lead to public health and social challenges. Contraceptives are rarely available, and family planning is uncommon due to a lack of education. This situation may result in unplanned pregnancies, population growth, and the expansion of favelas.

Funk carioca music also sometimes promotes criminal behavior. A style called "proibidão" ("the forbidden") includes lyrics that praise violence, such as killing rivals or police, and describe illegal activities like drug use and robbery. Authorities believe these lyrics might encourage people to join organized crime or commit violent acts, and playing such songs can be illegal.

Funk carioca events, known as "bailes funk," often occur in areas with high crime rates. These events are linked to drug trade and use, and some attendees carry weapons. Murders are also common at these gatherings.

Popular funk carioca artists create two versions of their songs. One version has softer, more suitable lyrics and is played on the radio. The other version has more intense, rougher lyrics and is performed at parties and in public. Common themes in the lyrics include explicit sexual descriptions, police, life in favelas, and the poverty faced by people living there. Many songs express frustration with hardship and hope for a better future.